13:00-14:15 18 April and 16:30-17:45 19 April, 2 Fl. Bangkok Kunsthalle
An alternate format between the TagTEAMS concerts and screening programs
Curated by Nattakon Lertwattanaruk and Sippapas Thienwiwat.
(2025) – Sara Ramírez Márquez - 8m06s, stereophonic fixed medium
One Last Evening in Kashihara explores a soundscape recorded on the banks of the Yamato River, an environment where water, distant traffic, and the six-o’clock chime create a simple yet nuanced atmosphere. I was drawn to this material because it carries a quiet, almost suspended beauty that invites attentive listening.
The recording comes with a personal story: it was made just before the person who captured it moved away from the city. That gesture —returning to the river to hold onto one last sunset— leaves an emotional trace that runs through the entire sound. The nostalgia contained in the small details of the environment became the driving force of the piece. I wanted to enter that state, recognise it, and amplify it through composition.
The work is built around that place, its atmosphere, and the memory it holds, seeking to let the listener feel both the calm of the landscape and the farewell that inhabits it.
This track was created in collaboration with the Cities and Memory project in Oxford, UK. It was inspired by (and includes) the field recording "JAPAN KASHIHARA CITY Kokoro no Furusato" in Japan by UIRO.
(2025) – Ethan Resnik - 13m, stereophonic fixed medium
"Variations for an Unknown Video Game" is a fixed media work that explores sonic possibilities derived from the Logic Pro sound library, creating a sense of adventure, absurdity, and existentialism.
(2025) – Michael Ryan - 7m45s,
‘Every machine, in the first place, is related to a continual material flow that it cuts into. It functions like a “bricoleur”; it is an agency of selection, of detachment, and reassembly or cutting.’
— Deleuze and Guattari
‘Machines are not mechanisms. They evolve, mutate, and reconnect with different machines, which are themselves in evolution and mutation’
— Gilles Deleuze
In the piece Machine Topographies, machines are represented as short sonic gestures which interrupt, transform and destabilise the flow of the sonic terrain.
These ‘sonic machines’ serve as a reconciliation between the philosophical grounding—or ‘difference’ in Deleuzian terms—of abstract Deleuzian ontologies and the realised immanences of noumenal landscapes.
The topographic elements do not begin as a physical landscape; rather, they align with what the French continental philosopher Henri Bergson describes as ‘one of duration spatially over time.’ Instead of an assemblage, they form a system of mechanistic processes that evolve and mutate in relation to one another.
(2025) – Ko Muramatsu - 11m, 3rd order ambisonic fixed medium
In my set of ambisonic works Voice lingers, each work is composed with a fixed duration based on a Fibonacci number series, starting with one second and expanding exponentially. The idea emerged from a sociological reflection on contemporary social media platforms, as research suggests that the prevalence of 10-30 second short-form content may diminish our perceptual patience for appreciating longer-form works. As a composer dealing with the art of time, I have a deep interest in this flux of time perception and seek to respond to this trend—not solely from a critical standpoint, but with curiosity towards the emerging insights.
With a fixed duration of 610 seconds, 'Scent if reminiscing' takes all of its musical materials from recordings of Beethoven’s Piano Sonata No. 8 in C minor, Op.13 (“Pathétique”). The first four measures of the sonata present a rich spectrum of chords with inversions and varied registral weighting. Through a combination of different approaches and manipulations on resynthesized sound processed by FFT-driven partial tracking techniques, this piece unfolds an enriched and time-stretched harmonic field derived from this source material. The resynthesis is applied to a modern piano recording in the first half of the work and to a fortepiano recording in the second half, gradually morphing its timbre profile and historical standpoint from the current to the past.
The title Scent if reminiscing reflects both these conceptually and sonically shifting hearing points, as well as my personal attachment to the model piece. Pathétique was the first Beethoven piece I performed on the piano 20-some years ago, and its traces linger not as a quotation, but as an evolving memory in retrospect.
(2022) – Simon Hutchinson - 9m54s,
Perspectives of Place (2022) was originally commissioned for a 15-linear-channel outdoor installation. The 15 speakers were set 30 ft apart along a highway overpass in Austin Texas.
This piece combines synthesized sounds with field recordings from Northern Japan and New England, superimposing a number of different natural locations and the sounds of their fauna over the listener’s space.
I hope this piece can be a celebration of travel and the perspectives that it can provide us, but simultaneously draw attention to how transportation by planes, cars, and other means impacts the sonic ecology of these spaces.
(2026) – Duangkhamon Khamthiang - 8m, stereophonic fixed medium
In this piece, a continuous drone harmony represents the self moving forward through life, sometimes turbulent, sometimes solitary. Layered glitches interrupt and punctuate this journey, many sourced from field recordings captured while wandering the city: wind, traffic lights, trains, the ambient noise of different neighborhoods. Created through live coding in Sonic Pi, the work reflects on how we absorb information daily the speed of technology, the inner stillness we seek. Each sound represents something encountered along the way. What we encounter differs for everyone. Though we stumble, we keep walking. The composition uses layered live loops, randomization, and effects like reverb, echo, and distortion to create an ever-shifting sonic landscape. Glitches emerge unpredictably, mirroring the interruptions of modern life, while the underlying drone persists a quiet insistence on staying present.
(2022, rev. 2025) – Sang Mi Ahn - 7m12s, stereophonic fixed medium
Foxfire is the natural glow created by certain forest fungi. The ‘fox’ in foxfire may be derived from the Old French word, faux, meaning ‘false.’ The work consists of two parts, and each of them presents footsteps as a role of symbolism.
The first appearance of the footsteps describes an admirer of nature’s wonders—discovering the bioluminescence in the forest and appreciating the orchestrated soundscape of nature. The second appearance of footsteps symbolizes a destructive force in the natural environment. I imagined the timbres of the birds singing changed, and the soundless nature screamed in response to the pollution caused by humans. The work is a reminder for me of the role I could take, and I hope it does the same thing for the listener.
(2025) – Xiao Wen - 7m30s, stereophonic .mp3 fixed medium
"speaking ground" is inspired by the four months I spent living abroad in Helsinki. The integration of modern city life with its beautiful nature, its international community and the sounds that surrounded me were unlike anything I had experienced before in Asia. In particular, the neighbourhood of Kontula was very interesting. Although it has a mixed reputation, I wanted to convey the earnest truth of living in such a diverse community. A soundscape was created using field recordings made in Helsinki and excerpts of texts from different languages, creating a space for voices to be heard and represented.
(2026) – James Chatchapon Leelayuvat - 5m, stereophonic fixed medium
During my first time back in Thailand, I bought a Zoom h1n handheld recorder to catch some of the sounds of the streets in Bangkok. Most of the sounds I had captured were wholly uninterested until I walked through Chinatown. I was wondering a temple when I heard an ensemble of monks chanting a melody which I had captured into this piece. The sample had such distinct features like a bell occupying the high frequencies, a melodic contour from the voices, and the sounds of the visitors. I had not found a usage for this recording until now…
mahayana is also an electronic continuation of my newfound exploration into sustained textures that slowly transform overtime that very much follows in the lineage of composers like Steve Reich, La Monte Young, and John Luther Adams.
(2021) – Robert Fleisher - 6m30s, stereophonic fixed medium
Parallel began its life as a brief composing session at the piano, preserved on an open-reel tape recorder, in my teens (1968). Sometime thereafter, I found I was hearing the same session, but backwards. Judicious editing in 2021 (reducing the duration by roughly one third) preceded its 2022 premiere during the annual Indiana University-Purdue University Indianapolis (IUPUI) Earth Day Art Model international telematic festival. In 2023, Parallel was heard during the VU3 Symposium (Park City, UT) and in more than a dozen NACUSA/Sounds New installations in AL, GA, and NC. In 2024, during the 40th annual SEAMUS conference, Parallel was heard at NYU- Steinhardt's Music and Research Laboratory in Brooklyn, N.Y. Later this month, it will be heard during a NACUSA/SF concert at the Center for New Music in San Francisco, CA. The title reflects the composer's evident fondness for archaic voice leading in his youth. Parallel was first released on the NACUSA/Sounds New CD, JUN (SkyDeck, 2024) and will be re-released on Vol. 11 of the Electronic Masters series (Ablaze Records) in 2026.
(2023) – Hector Bravo Benard - 10m58s, 3rd order ambisonic fixed medium
This work is built up of noisy material produced using chaotic generators, which is then put through a signal processing patch made up of inter-modulated devices with audio and control signal feedback. This results in slowly changing sounds with ringing high frequencies and a dense spectrum. Multiple versions of these processed sounds are layered and arranged in space, resulting in static atmospheres that develop gradually and produce different micro-rhythms and interference patterns, with special emphasis on spatial and timbral counterpoint. There are also synthetic grain clouds that punctuate some of the gestures, as well as spatialized clouds into which the original material is scattered. The title is related to the sonic metaphor of being surrounded by a dense cloud of slowly moving fog. Space was used to help convey the sense of being inside a cloud of sonic fog, with high frequencies being dispersed to different regions for movement and contrast within the slowly changing textures, and granular cloud gestures moving across the auditory field, enhancing the musical ideas and bringing out elements in a way that can only really be experienced in an immersive sound environment.
Sara Ramírez Márquez, 2001
Composer from Bogotá.
She studied Composition for Films and Media at Universidad de los Andes and Electroacoustic Composition at the University of Birmingham.
Her works have been performed internationally in the United Kingdom, France, Italy, Poland, Colombia, Argentina, and Thailand; and her original scores have featured in films officially selected for the Birmingham Film Festival and the Bogotá International Film Festival.
Her interests revolve around immersive sound, environmental sound, and religious studies. Her current creative practice integrates electronic improvisation, poetry, spoken text, and multilingualism.
Ethan Resnik is a composer and pianist who evokes personal stories, memories, and meaningful experiences through music, while using his synesthetic associations to add depth and color to his sound. He holds a Bachelor of Music degree with high distinction from the Eastman School of Music and is currently pursuing his Master of Music Degree at Rice University.
Ethan is the recipient of the Belle Gitelman Award and the Louis Lane Prize, and has received 1st place in the Northwest Horn Symposium Composition Contest, the Villa Musica Call for Scores and in the 48th Festival of New American Music Call for Scores. He was awarded 3rd place in the American Prize, 2nd place in the Belvedere Festival Composition Contest, and 2nd place in the 16th Piano Composition Competition Fidelio, where he later served as a jury member for the final round.
Recent festival appearances include soundSCAPE, National Music Festival, Bowdoin International Music Festival, RED NOTE New Music Festival, and the Penn-State New Music Festival.
Besides music, Ethan is a roller coaster enthusiast and enjoys hiking, beaches, the French language, and world geography.
Michael Ryan is an active composer and performer working across a range of fields. His work primarily explores Deleuzian thought, focusing on concepts such as rhizomatic emergence, interruption, assemblage, and ‘machines’ within electroacoustic composition, performance, and improvisation. He is a former graduate of Creative Music Technology at De Montfort University, Leicester, and holds an MA in Electroacoustic Composition/Sonic Art from the University of Birmingham. He was a member of the Dirty Electronics Ensemble (Leicester) and is currently a member of The Spectral Karaoke Collective (Birmingham).
Ko Muramatsu is a Japanese composer based in New York. His music has been appearing in versatile occasions and medium.
His acoustic composition has been performed by ensembles such as MIVOS Quartet and Kompass Ensemble. His pieces have been performed by phenomenal players, including Aki Kitajima, Yuki Yoshimi, and Chihiro Asano. He was commissioned by the 89th Yomiuri Shinjin Ensōkai (Concert for Emerging Musicians sponsored by Yomiuri Newspaper). His works range from solo pieces to orchestral music. Selected by Matthias Pintscher, he participated in the Music Composition Workshop at the Suntory Hall Summer Festival in 2021. Most recently, his sinfonietta work Virtuality II was premiered by the Eastman Graduate Students’ Sinfonietta.
He is an expert in the electroacoustic music area. He was commissioned by OSSIA New Music to write Distant, which incorporates acoustic instruments with audiovisual live electronics. Virtuality I for string quartet and fixed media was premiered by MIVOS Quartet at the VIPA Festival. His electronic practice draws on programming environments such as Max, Pure Data, and Python, through which he integrates technology into his compositional process.
His interests extend to theatrical and interdisciplinary work. He collaborated with a drama group, Mitsuashi-no Saru, and composed music for Botandōro, a Japanese classical horror storytelling performance with live instrumentalists, sponsored by Arts Council Tokyo. He is involved in interdisciplinary improvisation performance, where he worked with live instrumentalists and visual artists. In InDialog, he used his self-modeled AI program to interact with the live improvisation performers.
Simon Hutchinson is a composer and interdisciplinary artist whose work investigates the cultural narratives that are embedded in our interactions with technology. His works fuse European concert traditions, creative electronics, and global musical influences, creating interactive, immersive experiences that advocate for a thoughtful approach to the digital age.
Simon holds a PhD in Composition with supporting coursework in Intermedia Music Technology from the University of Oregon, and he is currently Professor of Music at the University of New Haven. He is internationally recognized as a composer and performer of electronic music, presenting works at festivals and conferences around the world. His creative and scholarly output spans such topics as interactive media, digital aesthetics, and the cultural implications of emerging technologies. His writings contribute to ongoing conversations on the evolving intersections of music, technology, and society, particularly in how digital tools reflect and influence cultural expression.
Duangkamon Khamthiang (ploi) is a musician exploring sound through live coding. Her work bridges music, technology, and art, translating everyday listening experiences from the world around her to quiet moments within into performances that balance improvisation, structure, and experimentation.
Her practice is rooted in searching for stillness, yet she often encounters chaos along the way: glitches, field recordings, and unexpected disruptions become part of the journey. Through these contrasts silence and noise, calm and turbulence.
Sang Mi Ahn is a composer who wants to bring the invisible into the listener's perspectives. Her blend of electronic and acoustic works have garnered awards, including the Indiana University Dean's Prize in Composition, the Heckscher International Composition Prize, the Republic of Korea Composition Prize, the Judith Lang Zaimont Prize at the Competition of The International Alliance for Women in Music, and the winner of the Women Composers Festival of Hartford International Composition Competition.
Her compositions have been featured in festivals and conferences, including ICMC, ACMC, SEAMUS, Symposium on Acoustic Ecology, International Symposium of New Music (SiMN), Americas Society, the World Saxophone Congress, the International Trumpet Guild Conference, the International Clarinet Association’s New Music Weekend, the North American Saxophone Alliance Biennial Conference, The Symposium on Spatial Sound Arts, Seoul, The 3rd International Summer Music Academy in Kavala, Greece and the International Experimental Film-Video Festival in Seoul.
Ahn completed a Doctor of Music degree in Composition from Indiana University, where she also earned her Master of Music in Composition and served as an Associate Instructor in Music Theory. She was formerly a Lecturer in Composition at Korea National University of Arts and Yonsei University, South Korea.
Xiao Wen (b. 2004) is a Singaporean composer, currently studying at Yong Siew Toh Conservatory of Music. She has a deep passion for writing music that reflects her own experiences and creating artistic experiences that can impact others through personal and collaborative projects.
Xiao Wen has worked with performers like Martin Jaggi, Carolin Ralser, Duo Tarenna, b-l duo, Trio Immersio, Tacet(i) Ensemble and Karl Jõgi. She participated in the Sounds of Now Vienna Contemporary Music Festival 2024, the International Composition Institute of Thailand 2024, and the Darmstadt Summer Course 2025. She was also a featured artist in Four Blank Walls: Experiments in Sound (Edition 4) in 2025.
Other than composition, Xiao Wen enjoys playing the piano and the electone.
James Leelayuvat is a Thai-American composer currently studying at Occidental College under Professor Adam Schoenberg. He's a flautist, saxophonist, and bassist, playing classical and contemporary classical works. His music aims to explore the grey area of imbre within music, experimenting with novel extended techniques as a form of composition. As a programmer and student in computer science, he also engages a lot with electronics. He uses field recordings and samples to manipulate them in different ways to complement live instruments. Or also using live electronics, he creates interactive environments of sound composition. His music follows in the footsteps of composers like Helmut Lachenmann, Panayiotis Kokoras, and Dai Fujikura. On the side, he is currently studying jazz at the college with Professor Jonathan Richards and plays with the jazz groups.
Robert Fleisher’s music has been heard in more than a dozen countries and appears on as many record labels. His acoustic works have been called “eloquent” (Ann Arbor News), “ingenious” (The Strad), “astoundingly attractive” (Perspectives of New Music), and his electronic music termed “fascinating” (Fanfare), “endearingly low-tech” and possessing “a rich, tactile texture” (New York Times). Author of Twenty Israeli Composers (1997) and a contributor to Theresa Sauer’s Notations 21 (2009), he has received artist residencies in the U.S. and abroad, and support from the Illinois Arts Council and the Ruttenberg Arts Foundation. Fleisher’s music has been heard at Weill Recital Hall, National Sawdust, Roulette, Symphony Space/Thalia, High Museum of Art (Atlanta, GA), Minneapolis Institute of Art, and California Institute of the Arts—as well as CMS, EMM, ICMC, NYCEMF, SCI, SEAMUS, VU, Toronto Electroacoustic Symposium, Festival Musiques démesurées and Électrolune (France), Neue Musik Zirkus (Germany), Ars Acusmatica and Forum Wallis/Arts Electronica (Switzerland), and the Audiograft, BEAST FEaST, and Noise Floor festivals (U.K.). A native New Yorker and H.S.M.A. graduate, Fleisher earned a B.Mus. degree with honors at the University of Colorado, his M.M. and D.M.A. degrees at the University of Illinois. He is Professor Emeritus at Northern Illinois University.
Originally from Mexico City, he studied philosophy and music at the University of Victoria (Canada), and later at the Xenakis Centre (France), the Institute of Sonology and the Royal and Rotterdam Conservatories (Netherlands), the National Autonomous University of Mexico, the University of Washington’s DXARTS Center (USA), and the University of Birmingham (UK), where he received his Ph.D. He composes sound-based music for acoustic instruments, live electronics, and fixed media, with a focus on timbral and spatial elements, and natural phenomena such as non-linear dynamical systems. His works have been presented internationally at events such as ICMC, BEAST FEaST, MA/IN, SEAMUS, Gaudeamus, NYCEMF, Sonorities Belfast, Espacios Sonoros, ACMA, FIMNME, Sound/Image Festival, and the Kyma International Sound Symposium. He currently lives in the Netherlands and Germany, working as an independent artist, researcher, and music software developer.